James Reasoner

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Jun 182013
 
Product Details
Ed here: I was always a fan of Mike Shayne Mystery Magazine. I still  remember when it first appeared in the late Fifties. Cool covers and name writers. Little did I know that a decade or so later people like Bill Pronzini and James Reasoner would be writing the "Mike Shayne" short novels that appeared in each issue. In fact James wrote all of them for a number of years.

"The Man in The Moon" is a first rate private eye story--you wanna know how to write one? outline this--starring a p.i. James did a number of stories about in Shayne. At Kindle 99 cents it's the equivalent on a nice big very cold ice cream cone on a hot summer's day. Very nice work.

Here's an excerpt from an interview with James from Storyteller's. Fascinating. 
StoryTeller’s 7   1.  I downloaded a novel the other day called TEXAS WIND, your debut novel, published in 1980. I’ve read that it’s considered one of the finest private eye novels ever written. Quite an achievement for a first novel. What kind of pressure did that put on you? 

JR: I don’t think it really put any pressure on me because it took a number of years for the book to develop that reputation. When the book came out it got very little distribution because the publisher was about to collapse (I didn’t know that was going to happen when I sold the book to them). So, for a long time it was just an obscure first novel that became something of a cult item because the few people who read it kept beating the drum for it. And while that was going on, I kept writing other things, so I didn’t really look back. Now, of course, I’m very pleased and gratified by the response TEXAS WIND has gotten over the past 33 years since it came out. I was so young when I wrote it that anything good in it is just pure instinct on my part. I didn’t really know what I was doing. (Most days I still feel like that.) 

2.  You’ve written over 200 novels in a broad range of genres and under numerous pen names. If you were asked to name your top three favorite novels which ones would they be and why?

 Actually, I’m closing in quickly on my 300th novel. The one I’m working on now is #298. But as for my favorites, in no particular order:  UNDER OUTLAW FLAGS, my Western/World War I novel, for a couple of reasons—I really like the narrator’s voice in that one and think I hit most of the notes I was trying to hit, and also because I wrote myself into it as a character (I’m the fat little kid eating popsicles and reading comic books in the framing sequence).   - See more at: http://www.tomrizzo.com/storytellers-7-james-reasoner-words-by-the-million/#sthash.4UWf02rk.dpuf
Jun 182013
 
REVIEWED BY DAN STUMPF: JIM O’MARA – Wall of Guns. Dutton, hardcover, 1950. Pocket #816, paperback, June 1951. Signet, paperback, 2002.    I almost started this review by saying that Jim O’Mara’s Wall of Guns is Western writing at its finest. On second think, that honorific is better suited to books like The Big Sky, Saint [...]
Jun 182013
 

There's a popular misconception, fed mostly from the "Thin Man" movies, about the identity of the titular Thin Man.

Viewers who have seen any of the half-dozen "Thin Man" movies often are left with the impression that Nick Charles, the book and movie protagonist, is the thin man. Not so.

The "Thin Man" of the book is, in fact, Clyde Wynant - the missing scientist whose daughter presses Nick Charles to search for him. There are references to Wynant's thin-ness, and that plays an important part in the resolution of the book.

So now you know...

Jun 182013
 

Marcia Clark’s third Rachel Knight novel KILLER AMBITION is now on sale in bookstores everywhere! Read on for an excerpt in the novel which the Hartford Books Examiner calls “the best entry yet in a young but exceptionally strong series”  and which caused Booklist to declare, in a starred review:”Legal thrillers don’t get much better than this.”

2

Bailey got off the 405 freeway and headed east on Sunset Boulevard. I was about to ask where we were going when she turned onto Bellagio Road—which led to the heart of Bel Air. If I were a billionaire director I’d live there too.

Bel Air is in the foothills of the Santa Monica Mountains, and it’s the highest of the three legs known as the Platinum Triangle—the other two being Beverly Hills and Holmby Hills. The most expensive homes in the world occupy real estate in that wedge of land, and most of those homes are in Bel Air. The biggest and most lavish are usually closest to Sunset Boulevard, but you’d never know that, because massive trees and dense shrubbery hide all but the gated entries, and even those gates are tough to find, hidden as some are by deliberately overgrown leafy climbers.

Which explains why Bailey was frowning and muttering to herself as she scanned the road for house numbers. But when we reached Bel Air Country Club, she made a U-turn and pulled over. “Do me a favor and look for this number. The navigation says we’re there, but I don’t see a damn thing.” She handed me a scrap of paper with an address and headed back down the road. One minute later I told her to stop and peered closely at a set of massive black iron gates that were almost completely obscured by towering elm and cypress trees. The tops of the gates met in an arc, and there in the apex, woven into the iron scrollwork, was the number.

“This is it.” If I hadn’t been parked in front of it and looking hard, I’d never have seen it.

I pointed out a discreet black metal box mounted on an arm in the brick wall and Bailey pushed the button. A voice that sounded like a British butler’s said, “Yes?” Bailey identified us, and he told us to hold out our badges. I couldn’t see any cameras, but I didn’t imagine he’d have asked us to do that just for giggles, so I held them outside the window, not sure where to aim them. After a couple of seconds the gates swung open, and Bailey steered up the brick-lined road.

Los Angeles has some of the most outrageously opulent manses in the country and Bailey and I had seen our share over the years, but nothing compared to this. The road opened to a bricked-in area that was the size of half a football field, in the middle of which was a massive Italian Renaissance–style fountain, complete with cherubs’ and lions’ heads that spewed water. Towering over the grounds was a palatial two-story Tudor-style house all in that same matching brick. It was tastefully covered in ivy that obediently climbed where it best accented the archways and latticed windows and formed a large L around the perimeter of the front area. Judging just by what I could see from the outside, that “house” was at least thirty-five thousand square feet if it was an inch.

Bailey parked and we both stepped out of the car and took in the view.

“Damn,” said Bailey under her breath.

“A quaint little ‘starter.’”

By the time we’d made it up to the arched brick entry, the door was open and a slender man in his fifties, with thinning hair combed neatly back and dressed in a cardigan and dark slacks, beckoned us in.

“Right this way, please.”

We were eventually ushered into a room that was sectioned off by furniture groupings of leather couches, ottomans, and cherry wood tables. Large wall-mounted flat screens hung on opposite walls. The room was big enough that both could be watched at the same time without anyone suffering noise interference. I supposed it was what the realtors called a “great” room. Cozy.

Several people had gathered and the room buzzed with tension, though no one was moving. It was an odd sensation, as though everyone was vibrating in place. A tall wire whip of a man approached me with a smooth, athletic stride. Something about him looked familiar. I studied the brows that arched expressively over green eyes, the full lips, the faint spray of freckles across the bridge of his nose, and the dampish, freshly showered–looking dark red hair that curled down the sides of his neck. When recognition hit, shock made the name spring from my mouth. “Mattie!”

A brief look of annoyance was quickly replaced by a self-deprecating smile; it got me at first, but there was a too-polished feeling about the expression that said he’d probably been working it from his earliest child-star days. “Right.” He held out his hand, “Though I actually go by Ian Powers.”

I shook his hand and collected myself. “Sorry,” I said. “I just wasn’t expecting—”

Ian Powers held up a hand. “Hey, don’t apologize. At my age, I’m only glad that people can still recognize me.”

It was somewhat remarkable. Though he definitely didn’t look it, Ian Powers had to be in his forties. I knew it’d been at least thirty years since he’d starred as the eight-year-old boy in the sitcom Just the Two of Us, about Mattie, a charming, wise-beyond-his-years boy and his single father. I remembered watching the show when I was a kid, though by then, the show had long since been in reruns. It was weird to see the vestiges of that sweet little-boy face in this fully grown, casually elegant man.

“I take it you two are the detectives?”

“Actually no. I’m Rachel Knight, deputy district attorney.”

“Detective Keller.” Bailey put out her hand. “And your connection…?”

“I’m Russell’s manager.”

Ian led us to the left side of the room, where a short man, no more than an inch taller than myself, dressed in a baseball cap, faded jeans, and a forest green Henley, sat on the arm of a plush burgundy couch. “Russell, this is Detective Bailey Keller and, ah—”

“Deputy District Attorney Rachel Knight,” I filled in. Clearly, I was already making quite the impression.

Russell stood and rocked on his toes—I’d bet so he could look down on me. But he’d have needed a step stool to look down on Bailey, all five feet nine inches of her. He took her in with a sidelong glance that avoided his having to look up at her, and didn’t offer his hand to either one of us. He took a deep breath, expelled it through his nose, then started to dive in. “Got the first message about—”

Bailey held up a hand and looked around the room. “Mr. Antonovich, before you get into it, can you tell me who all these people are and why they need to be here?”

With a pained expression he said, “Russell, okay? Call me Russell.” His tone was peremptory, almost impatient, and his voice was high enough that if I hadn’t been looking at him I’d have thought he was a woman. “They all pretty much live here.” He pointed to a willowy blonde who looked to be in her mid-twenties and easily twenty years his junior. “My wife, Dani. That’s her assistant, Angela,” he said, nodding at a trim young girl with a mop of curly brown hair who was pouring bottled water into a glass for the missus. He pointed to a sturdy-looking girl in overalls and a matching baseball cap. “My assistant, Uma.” I noticed she was the only one in the room who was shorter than Russell. I was sure that was no accident. An older woman came in carrying a tray full of plates bearing finger food. Russell followed my gaze. “That’s Vera, the cook.” No last name—unless you counted “the cook.” In fact, none of these people had a last name. Not as far as Russell was concerned anyway.

“And that…?” I asked, pointing to a young man wearing jeans that sagged below sea level sitting on an ottoman at the other end of the room.

“Jeff, my runner. Assistant too, sometimes.”

And then there was the butler who’d answered the door, and all the others it would take to keep this place going. If we kept taking attendance, we wouldn’t get to the case until sometime next week. Bailey had apparently reached the same conclusion.

“I’ll need a list of everyone who’s been in the house today and who’s in the house now,” Bailey said.

“Right, got it, got it.”

“When did you first realize your daughter had been kidnapped?” Bailey asked.

Russell pulled off his baseball cap, which now showed me it was his substitute for hair. The hem of tight straw-colored curls just above his ears was all that remained. He rubbed his head and then his face. With the cap off, I could see the worry and fear etched in his face. Suddenly the celebrity director was just the frantic, distraught father of a child in danger. And in that moment, the picture of my father’s face filled my memory: the panic and confusion in his eyes, turning to frozen shock when, sobbing and hysterical, I told him of the stranger who’d taken Romy while we were playing in the woods near the house. I brought myself back to the present with a stiff jerk. That was Romy and my father. Not Hayley or Russell. This daughter still had a chance of a safe return.

“I got an e-mail with the photograph of Hayley. It came from Hayley’s phone. She was at my place in the hills—”

“Hollywood Hills?”

Russell nodded. “Sent it to my private cell phone. Only my family has it. Said that photo was proof of life and that the demand would come later. Warned me not to call the cops.”

“You still have that message and the photo?”

“Yeah, of course. Got ’em right here.” He pulled his cell phone out of his hip pocket and handed it to Bailey.

Bailey and I read the message on his phone: I’ve got your daughter. She’ll be safe if you do as I tell you. If you call the police she’ll be killed. I’ll be in touch with my demand.

“Couple hours later, I get an e-mail telling me to bring a million in cash to a place in Fryman Canyon.”

“Could you tell where the e-mail came from?”

“The e-mail address was Hayley’s, but—”

But all the kidnapper had to do was get her password to send from her e-mail address.

“Was there a photo of Hayley in the e-mail?” I asked.

“Yeah. A video of Hayley was attached, telling me just to do what he says.” Russell took off his baseball cap and rubbed his head and then his face. His next words tumbled over each other, half regretful, half defensive. “So I did. I know I should’ve called you guys, but I was afraid to take the chance. Thought if I did what they asked, Hayley’d be back and…”

“And I understand you’ve already delivered the ransom?” Bailey asked.

Russell tried to take a deep breath, but it caught in his throat. He dipped his head. “Yeah.” He could barely choke out the word.

“How did you get your hands on a million dollars that fast?” I asked.

At that, Russell looked up, his expression confused. “See that’s the other thing. Only the family knows I keep that much cash around for emergencies. Hayley had to have told them—”

“And she was supposed to be released within an hour after that?” I asked.

Russell nodded.

“Where exactly?” I asked.

“At the mouth of Fryman Canyon, on the valley side. Told me to go back home and wait for the call.” Russell’s face bunched up and he blew out an exasperated huff. “Look, I already told all this to the captain, so why are you sitting here?”

“We have officers searching Fryman Canyon,” Bailey said. “Unless and until we find someone who can give us more to go on, everything that can be done is being done.”

Bailey turned back to Russell’s cell phone and pulled up the proof-of-life photo. A petite blonde girl with a feminine version of her father’s mouth, dressed in a pink-striped jersey blouse that exposed one fetchingly bare shoulder, stared back at us. Her expression was fixed, serious. I looked across the room at Russell’s wife, Dani. I saw no resemblance. Hayley seemed to be leaning against an iron fence, through which I vaguely made out a hillside thick with greenery.

“Let’s see the ransom demand,” Bailey said.

Russell held out his hand for the cell phone, then scrolled and handed it back to Bailey.

The ransom demand was short and clear:

One million dollars in cash in a duffel bag. Go to Fryman Canyon. Take the small path on the left for fifty yards, then turn right. Walk until you see two trees with white string tied around the trunks. Leave the bag between them. Go home and wait for the call. If you bring in the police, Hayley’s dead.

We watched the video. It was even shorter but no less clear. “Dad, just do what they say and everything will be okay. Please.” It was only a few seconds, and maybe it hit me as hard as it did because I hadn’t expected it, but it was enough to reveal a soulfulness, a pureness of heart in the young girl.

“When was the last time you saw Hayley?” I asked.

“Thursday. Or…was it Friday? Friday, I think. They didn’t have any classes on Friday, so she and Mackenzie wanted to hang out there.” He pointed to the photo of his house in the hills. “I dropped in to check on them, make sure they had food, whatnot.”

“How old is Hayley?” I asked.

“Sixteen.”

That seemed awfully young to be floating around a party house in the Hollywood Hills with a buddy and no supervision.

Russell read my expression. “Her mom doesn’t live far from there.”

Of course. Russell and the mother were divorced. That explained the lack of resemblance to Dani, who I assumed was Wife 3.0.

“So you let Hayley stay there on your custody nights?” I asked.

“We don’t really have custody nights per se, anymore. Hayley pretty much stays where she wants.”

Unfortunately, not tonight.

Marcia Clark is a former Los Angeles deputy district attorney who was the lead prosecutor on the O.J. Simpson murder case. She cowrote the bestselling nonfiction book about the trial, Without a Doubt. Killer Ambition is Clark’s third novel featuring Los Angeles DA Rachel Knight. She’s currently at work on her fourth.

Multitude of Favorites 8: Classic Noir Writers

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Jun 182013
 

This is probably the most difficult genre for me to pick only four or five writers from, as it's the one I feel most passionately about, so I'll probably cheat a little bit.

When I say "noir", I might mean something different from what you mean. For me, it's all about those brilliant, hard-working scribblers of paperback originals, back in the '50's and early '60's. You can make a solid case for Cornell Woolrich being a master of noir, or James M. Cain, and I wouldn't argue the point-- but the crop of hugely talented workhorses who emerged to fill the racks at local drug stores across the country, those guys really, really speak to me. And they've honestly been the biggest influence on my own work.

Here are the ones I personally just can't do without:



Charles Willeford. His nasty sense of humor, his sense of irony, his willingness to go to places in his fiction where very few dared to go, make him a sort of literary hero to me. Willeford seemed to have no fear, and his famous quote, "Just tell the truth, and they'll accuse you of black humor," still resonates. My favorites are THE BLACK MASS OF BROTHER SPRINGER (also known as HONEY GAL), THE WOMAN CHASER, HIGH PRIEST OF CALIFORNIA, and PICK-UP.



Jim Thompson. In recent years, there's been a bit of a backlash against Thompson from critics who are falling all over themselves in their eagerness to point out Thompson's flaws as a writer. You know what? Fuck those guys. Yeah, he wasn't as consistent a writer as some of his contemporaries, but when he was ON, when he was ON... no one could touch him. He wrote brutal, funny, tragic and surreal novels that transcend any genre and stand up beautifully today as fully-realized studies of madness and lust. A few I really love are POP. 1280, THE GETAWAY, THE GRIFTERS, A HELL OF A WOMAN and SAVAGE NIGHT.



David Goodis. Cain and Woolrich not withstanding, it's my opinion that Goodis IS noir. His novels were the bleakest, saddest and most moving of the period, almost all centered on losers and has-beens obsessing over the things they couldn't have and barreling full-tilt toward oblivion or destruction. A few that really got under my skin are BLACK FRIDAY, SHOOT THE PIANO PLAYER (originally published as DOWN THERE), THE BURGLAR, and CASSIDY'S GIRL.



John D. MacDonald was the hard-working man of noir. He was hugely prolific for decades, but the stuff he wrote in the '50's and early '60's was powerful because of its connection to things most readers could relate to; a lot of it took place in the suburbs and the middle-class working world. He was great with character and tension and could always be relied on for fast-paced novels you just couldn't put down. I'm a big fan of: A BULLET FOR CINDERELLA, CRY HARD, CRY FAST, and ONE MONDAY WE KILLED THEM ALL (what a great title!).

The reason I don't list Cain or Woolrich here: Cain only wrote one novel I'm crazy about, THE POSTMAN ALWAYS RINGS TWICE. The others are fine, but not brilliant. And Woolrich, well... he's important in the development of noir, yes, but reading him is a challenge. He's like the Lovecraft of noir-- a little ponderous, a little hysterical, a little melodramatic. I'm not really a fan. Let the stoning commence.

Now here's where I cheat a little bit. Picking those four as my all-time essential writers of noir is easy enough, but there are SO MANY others I really love and I NEED to mention them, because they are fantastic and you have to read them. They are:

Peter Rabe.
Charles Williams.
Day Keene.
Gil Brewer.
Wade Miller.
Vin Packer.
Helen Nielsen.
Harry Whittington.
Chester Himes.
Patricia Highsmith
Lawrence Block.
Donald Westlake.

You're not going to go wrong with any of those names.

New Interview

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Jun 182013
 
There's a new interview with me on Tom Rizzo's blog this morning. You can check it out here. Tom asks great questions.
Jun 182013
 
One of those guys who understand Kindle is the way to go if you want to write PI stories David Chill, author of  Post Pattern was kind enough to answer a few questions.
 
Q: What makes Burnside different from other hardboiled characters?
To a large extent, Burnside pays homage to a pair of my favorite fictional detectives -- Philip Marlowe and Spenser. He combines Marlowe's world-weary trek through the mean streets of Los Angeles with Spenser's erudite sophistication. My motivation to begin writing in the mystery genre was simply that I loved reading mysteries. I loved the feeling I got when I was reading a well-written, well paced mystery that dropped just enough clues to allow the reader to make an intelligent guess as to who was the villain. When the culprit was revealed, the best mysteries make you sit back and marvel at how the answer makes so much sense. In many ways , great mysteries portray how the villain can be hiding in plain sight.
Burnside's unique qualities are his background as a famous college football player at USC, one of the premier football programs in America. So he is well known -- and a respected star -- within that community. Burnside is also very well read and well spoken. He is not only street smart but he is book smart as well. He picks up seemingly unrelated tidbits of information and processes them quickly. He is able to connect the dots at a very fast rate. He is also expert at cracking wise and agitating most people he comes into contact with -- and this is very deliberate as it often gets people to reveal things they otherwise might not.
 
Q: How did you come up with the character?
I came up with Burnside because of my love for watching college football. While I was not good enough to play at that level, I have followed USC football closely and have studied the game. By creating Burnside, I have established an outlet to display my knowledge and love of the game. If you live outside of the states, American football may not be so familiar to you, but USC has frequently played in the Rose Bowl game in Pasadena, California on many a New Year's Day, so it's possible you may have seen them. I also created Burnside to be my alter ego. He is the one who can say the things I sometimes would like to say to people. Since Burnside is the tough guy who carries a gun, he is better able to handle the angry reactions of the recipients of my rapier wit.
 
Q: What's your idea about the psychotic sidekick in PI novels like Hawk and Joe Pike?
Regarding sidekicks for the protagonist, I really like characters such as Hawk and Joe Pike. They are the indestructible helpers that allow the hero to complete their mission. I think Hawk is a work of genius because he is similar to Spenser in some ways, yet he lives by a moral code that is shall we say, a bit more flexible. In a real world scenario it is unlikely Hawk and Spenser would be friends, but the magic of fiction allows us to see the two of them bond together and work well as a pair. And the idea of a sidekick in this genre dates back to Archie Goodwin and Nero Wolfe in the Rex Stout mysteries. Burnside's sidekick is actually his new girlfriend Gail Pepper, and I am trying to figure out how to fit her into future mysteries. The classic PI is a loner, similar to the cowboys and secret agents in other genres, but having a sidekick allows the writer to dig a little deeper into his hero's character.
 
Q: What's next for you and Burnside ? Will he return?
I am in the process of finishing a second Burnside novel that will see him investigating the death of a local politician. The book will be set in the fictional Bay City, which I have borrowed from my hero Raymond Chandler. He used it in Farewell My Lovely, and is a wonderful home for wealth, sin, beautiful beaches and abject poverty. Readers who live in or have spent time in Los Angeles will recognize it as Santa Monica, California. Due to the level of corruption that Burnside uncovers, I have changed the name in the same way that the fictional Los Angeles University (LAU) in Post Pattern has been recognized by some readers as UCLA.
 
Q: What are your thoughts on the whole eBook revolution?
The ebook revolution has completely upended the publishing industry; it is similar to what happened to the music business in the past 15 years, and what will happen to the TV business in the coming 15 years. For decades, consumers resented paying for a full album when all they wanted was one song. Music labels and retailers were unresponsive, but technology advances dramatically changed the landscape and put many of them out of business. Consumers no longer want to carry large, heavy books around when they can read the same thing on a Kindle, Nook, iPad or even a smart phone. They also didn't want to spend $25 on a book they might stop reading after chapter two. Ebooks offer a more convenient, cost effective method. The closure of so many book stores in the past few years is sad, but it is nothing more than a testament to progress. Ebooks are simply a better product, and the fact that they are also so much cheaper will continue to push this revolution further along.
This ebook revolution has allowed Indie authors like myself to self-publish without the need for agents or traditional publishers. But it also has created some difficulty for consumers to discern the good books from the not-so-good ones. The level of dishonesty in reviews is ripe for exploiting. I recently read an article that James Patterson has paid reviewers thousands of dollars to write book reviews for him. As more authors go down that path, the ability to judge what is good and what is not will become murkier. While it can be argued that bogus reviews have always been around the publishing world, there has been something of a screening process in the past. A writer first gets approved by an agent, and then by a publisher before their book makes its way to consumers. With self-publishing being so easy (not to mention free), that screening process has disappeared. The most reliable sources of what's good and what's not may have to come from the consumers themselves. Personally, when I'm considering a book to purchase, I look at Amazon's customer reviews rather than editorial reviews for that very reason. I feel it's a more honest and accurate assessment.
 
Q: How do you promote your work?
I chose to go exclusive with Amazon in terms of promoting Post Pattern. My reasons were fairly simple. Amazon is the largest digital publisher and they also offer KDP Select, which has been a successful tool for me because of the free days. Post Pattern launched in February 2013, and in the first two months I sold very few copies. In late April I made Post Pattern available for free for two days. I promoted it using the standard websites that promote free books, there are about 40 of them. While only 15 chose to feature Post Pattern those days, it was enough to generate 8,000 free downloads. I also began using Twitter and Facebook frequently during those days as well. I reached #21 in Amazon's overall free book list, as well as #3 in all mysteries and #1 in private investigator mysteries. But that and $5 would get me a latte at Starbucks! What happened next was interesting. Amazon began promoting Post Pattern on their site, in the area of "those who viewed the book you're looking at also viewed..." As a result, I sold hundreds of books over the next couple of weeks.
At some point this method may stop working so well. I've already noticed some of the better promotional websites for free books -- meaning those with heavier traffic -- are increasing what they charge writers to promote their books. There are still some websites that are kind enough to do this for free, but my guess is that will change over time. It didn't help matters when Amazon altered their policy on how they pay these "associates." By decreasing their payments to these websites for generating added traffic to Amazon, they are now pushing these websites to make up for this lost revenue by charging writers higher fees. Some associates have either stopped promoting free books or have limited how many free books they will promote. As such, at some point I will probably stop going with Amazon exclusively and expand to other eBook publishers.
 
Q: In the last century we've seen new waves of PI writers, first influenced by Hammett, then Chandler, Macdonald, Parker, later Lehane. Who do you think will influence the coming generation?
In terms of who will influence the coming generation, I am hoping it will be writers like you and me! The genre has certain formulaic qualities but they are there for a reason -- they work very well. I am hoping that the next generation builds upon what we have built upon. Keeping the basic tenets of the mystery novel, but modernizing, updating, and most likely using technology to a much greater extent.
 

Q: What other genres besides crime do you like?
I am a fan of great writing, so that includes mainstream fiction and non-fiction. Over the years, I have loved reading the works of novelists such as John Updike, Saul Bellow, Kurt Vonnegut, Charles Bukowski, Pat Conroy, as well as non-fiction authors Studs Terkel, Joan Didion, and Mike Royko . In the mystery genre, my influences have come primarily from the giants of the field, such as Raymond Chandler, Ross Thomas, Robert B. Parker and Dashiell Hammett as well as some local Los Angeles writers, Les Roberts, Gar Haywood, and of course, Robert Crais and Walter Mosley.

Jun 182013
 



Based on the novel by D.H. Lawrence, director Rydell moves the setting to snowy Canada.

In an attempt to become independent and get away from the city, two young women (Sandy Dennis and Anne Heywood).are managing a small farm. Keir Dulleau, whose grandfather once lived on the farm, turns up offering to help with the work.

The only threat to this idyllic setting comes from a fox that preys on the chickens. Miss Heywood cannot quite bring herself to kill the fox, although she sees it several times. Dullea finally shoots it; but, of course, Dullea is also a fox, preying on the two women.

After Dullea and Miss Heywood announce that they plan to be married, Sandy Dennis comes completely undone.

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